The Good Beginning
| Company type | Film |
|---|---|
| Industry | Film industry |
| Founded | 1953 |
| Founder | Gilbert Gunn (director), Janet Green (writer) |
| Products | Drama film |
The Good Beginning is a 1953 British drama film helmed by director Gilbert Gunn, featuring performances by John Fraser, Eileen Moore, and Peter Reynolds. Penned by Janet Green, the narrative delves into issues of economic hardship and moral principles.
Plot
Johnny and Kit Lipton, a recently married couple, maintain a simple lifestyle with Kit carefully budgeting their expenses using only cash. Following Johnny's advancement at work, he purchases a fur coat for Kit on credit but subsequently struggles to keep up with the payments. His attempt to recoup the losses through gambling proves unsuccessful, prompting him to misappropriate funds from his employer. Their acquaintance Brian Watson steps in, persuading Kit to sell the coat in order to settle the debt and reimburse the stolen money.
Cast
- John Fraser as Johnny Lipson
- Eileen Moore as Kit Lipson
- Peter Reynolds as Brian Watson
- Lana Morris as Evie Watson
- Humphrey Lestocq as Thorogood
- Hugh Pryse as Braithwaite
- Ann Stephens as Polly
- Peter Jones as furrier
- David Kossoff as dealer
Reception
The review in The Monthly Film Bulletin remarked that the film lacked adequate substance for success, suggesting that adopting a comedic tone might have enhanced its energy. The critique addressed the unrealistic notion that self-employment could resolve financial difficulties and noted Peter Jones as the sole actor who appeared genuinely natural.
Conversely, Kine Weekly described it as a "clever, brisk, and ethically grounded domestic comedy-drama," applauding John Fraser and Eileen Moore for their convincing depiction of middle-class characters and highlighting the director’s skillful blending of humor with tension. The ensemble cast contributed moments of levity, while the suspenseful conclusion was referred to as a "little gem."
In British Sound Films: The Studio Years 1928–1959, critic David Quinlan classified the movie as "mediocre," deeming it too restrained to qualify fully as either comedy or drama.
References
Bibliography
- Harper, Sue & Porter, Vincent. British Cinema of the 1950s: The Decline of Deference. Oxford University Press, 2007.